Seyfried Is Strong-Willed And Stubborn In Fastvold’s ‘The Testament of Ann Lee’
- Lara Walsh
- 1 day ago
- 3 min read
Mona Fastvold, hot off The Brutalist success, has reached for cinematic prowess once again with The Testament of Ann Lee. Harbouring a steadfast commitment to the historical, the newest addition to the Fastvold family maintains exceptional attention to detail and visual excellence. Across three chapters, The Testament follows the life of Ann Lee and her profound impact on religion in Manchester and across the pond
Whilst the tale is of the Shakers, the real story is in the development of Ann Lee herself, embodied earnestly by Amanda Seyfried. From early childhood, the audience watches her fall deeper into her religious extremism. After witnessing her parents engaging in sexual intercourse, a young Ann develops an unwavering contempt for the physical displays of desire. Whilst her husband, played by Christopher Abbott, engages in some form of masochistic BDSM, Ann’s own beliefs about sexuality are spiralling into a complete aversion. Her direction for the Shaker movement goes beyond the characteristic dancing and shrieking, toward an abiding chastity and purity that is extreme, even to her committed counterparts.
The film comes alive through the choreography of Celia Rowlson-Hall. Her portrayal of the unique prayer and devotion rituals is transfixing and a real highlight of the experience. Seen through a wide lens, religion in The Testament is dynamic and active; there is no sense of concealment, but rather an open and genuine overtaking of one’s body by its divine. With arms outstretched to the sky, Ann’s passion is reflected in the strong beat of the soundtrack, and this image of religious catharsis is undeniable.
The star is undoubtedly Seyfried. She embodies Ann Lee in all her truth: a whirlwind of passion and faith, unmoving against turbulent tides. An early reading could question why Fastvold has chosen to pay homage to a morally ambiguous figure, and whether the audience should even entertain the heroism of Ann. But Fastvold is reaching for more than a simple dichotomy between good and bad. Ann Lee’s story is one of female power, religious sanctuary, and collective hysteria. It is not so easily defined by its teachings, but rather exists in a morally grey zone where we can both applaud the strength and stubborn conviction of a woman during her context, but simultaneously acknowledge the limits of her own beliefs and morality. Ann is not necessarily the hero, nor the villain, but rather an exceptional figure of her time.
The Testament faces only the barrier of relevance. It is hard to imagine a more niche target audience: religious/American history fanatics with a passion for musical theatre. This does not mean Fastvold’s work is shy of excellent, only that it is unlikely to make waves - whilst Seyfried was nominated for a Golden Globe, the movie has received no hits in the Oscars nominations and hasn’t seen much success across awards season (an unfamiliar feeling for Fastvold!).
Overall, The Testament of Ann Lee is Fastvold’s most recent leap towards greatness - a jump she made appear so effortless only last year. The Testament is visually perfect and historically committed, albeit with a perhaps narrowed audience. It is up to the viewer to decide whether that makes for a slightly lacklustre sequence or an excellent standalone film. Ann Lee leaves little to be desired, and perhaps its only criticism is in being the younger sibling of a golden child.
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